Latest / Most Things Kenobi - A Star Wars Podcast / Episode 138: Our Favorite Pieces of Star Wars Music

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Episode 138: Our Favorite Pieces of Star Wars Music · Most Things Kenobi - A Star Wars Podcast

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Hello there, it's time for most things Kenobi.
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I prefer all things Kenobi, but I suppose that's not the Jedi
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way, as long as it's not all things Anakin.
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Hi everyone, Welcome to another episode of Most Things Kenobi, a
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podcast about Obi Wan Kenobi and all things Star Wars.
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I'm your host, Leanne. And I'm your host, Lauren.
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And this week we're talking about, well, we're we're picking
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our favorite film scores from the Star Wars, the entity that
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is Star Wars. It's hard to say because there's
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so many choices and so many media pieces, but everyone knows
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that the music, John Williams is a motherfucking genius.
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And we also like Kevin Kiner and we also like all the other
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subsets of of talented individuals that do music.
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So what we're going to do today is honor the music by picking
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our two top musical scores from the films and media and
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whatever. And I would like to say this is
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after the main theme because the main theme is everything.
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So it with this implied that the main theme is our favorite.
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We will then pick two that we adore and we'll talk about why
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and and actually I found a lot of John Williams thought process
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behind how and why he crafted the two individual theme songs
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that I chose. Oh cool.
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And it's just, it just goes to show that man, music drives
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everything right? But there is a mastermind behind
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it that is like any great meal. Every tiny piece of this and
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that that's tossed in has a purpose.
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Every ingredient builds to this. Story.
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And I couldn't believe the shit that went into thinking.
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And then I re listened to the songs that I chose after reading
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about what Williams did and I was like oh I I totally get it.
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That makes it more so. I don't know.
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Music is a multi layered, beautiful thing.
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It is. I wish I knew more music theory,
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like I don't know anything about it.
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Even though I came. My family does, everyone else in
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my family does, but I don't. So I can't analyze music the way
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I do films. All I know is that it affects me
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on an emotional level and I've always loved what Ridley Scott
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said about scores because people used to say all the time a good
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music score, you don't notice because.
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It's just. Blending in the background and
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really Scott's like, I don't agree with that at all.
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A good score, you do notice it affects you on an emotional
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level. It stands out and you're like, I
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want to hear that separate from the movie.
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Like I want to listen to this and not have the visual
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distraction. It should be something that is
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engaging on every level and then also works and progresses the
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story or the emotion of the scene that it's in.
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And I have always liked that take because I am a huge
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soundtrack fan. Like I listen to them all the
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time and especially like while I'm writing or if I need a mood
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for when I write, you know, they they have more.
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I would say they're more accessible to me sometimes than
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like classical music, because I only have a portion of classical
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music that I particularly like. Like, I really don't like
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romantic music. I don't connect with it at all.
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And soundtracks are a way for me to get a dose of classical
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music. I see I'm not always in the mood
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to like listen to Mozart while I'm writing or something like
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that, you know? So I I like the the storytelling
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that's in soundtracks, even though I know that exists in
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classical music as well. But yeah.
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What's interesting is I am the exact opposite of you.
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I can't listen to soundtrack music by itself, really.
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I I and I definitely cannot listen to classical music.
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It makes me nervous and I have to have a visual to go with the
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music because it's too dramatic and and emotional that I don't
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like that without having a reason.
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I'm already dramatic and emotional, sometimes without
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reason. But like, honestly, if I have
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to, it gets my emotions too worked up and I need a visual to
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like, counterbalance that somehow.
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So to me, it's not relaxing. I will listen to, like, my dream
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is to go to the presentation of the Lord of the Rings films and
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have a live orchestra playing the music.
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That's like my dream. I would love to do that, but I
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don't sit around casually listening to the Lord of the
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Rings soundtrack, which I'm in love with, because I know what's
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going on in and I'm like, I'm nervous because this is
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happening and it's the same thing.
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I will say I had a visceral reaction to listening to to my
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to my 2 songs that I chose. I had goosebumps for both
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without visual. Yeah.
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So I was like, OK, I I chose the right ones.
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I think that's part of it, right?
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Is like if you're having an emotional reaction, then they're
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doing their job. Yes, I think it's so weird that
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music can do that. I know, I I feel like music is
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one of the more bizarre things that humans invented, 'cause we
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have language, you know, we speak.
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And I heard John O'Donoghue once said that music is what language
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wishes it could be. Yeah, yeah, it's.
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Like an an elevated emotional, nonverbal form of communication.
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I think that's it's so interesting and it's
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mathematical also. Yeah.
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But then there's arguments. I don't know if there's any
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scientific evidence of this, but like that music affects us on a
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Hertz level, you know that we vibrate at a certain oh.
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Sure. Yeah, I've heard this.
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Certain music, like a tonal music, is very uncomfortable for
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us because it might vibrate at a different level than humans
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vibrate. I know that sounds like really
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woo woo, but there is something to it.
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There's there's a reason why they play a certain megahertz,
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is it Megahertz is a certain type of Hertz.
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I'll say Hertz. I am not really sure, I'm not a
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scientifician so. Well, like it's it's like during
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meditations and spa and stuff. Because your body vibrates.
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Yeah, the energy. It's an energy thing.
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I could talk about this for hours alone.
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I mean if you've ever done like a sound bath, which I know is
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not everyone is going to have done that, but I love it.
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If it's at like a certain level, it is so relaxing and it
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actually like hits into your it. It shuts down the loud part of
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my brain and allows me to kind of like level down into the
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meditative state. It's.
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I really do think music affects us even if we don't think it
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does. I think it it is affecting us,
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which explains why you are uncomfortable with with certain
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stuff like certain levels because it's emotion in
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vibration. Maybe we could even say.
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I don't know. I would love now that I'm
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sitting here thinking about everyone knows I'm a Lord of the
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Rings fan. I would love to analyze all of
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those musics because all of those songs, because those are
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the Elves have their own theme and the Fellowship has its own
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theme. And then you get to Gondor and
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the music is as grand, as mean as Tirith is and shit like that.
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I don't know. Same with Star Wars, because my
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2 themes are a character's theme song.
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So what did you choose? Well, my first one is, is from A
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New Hope and it's actually not on all the soundtracks now.
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Oh, like if you have the newer soundtracks, this one is maybe
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embedded in another song. It's from the original and it's
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you can find it on like the limited like special release
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that came out when we were kids. I think is the last time it was
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like included. Nice.
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It's tales of a Jedi Knight and learn about the Force, so it's
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kind of like Obi Wan's theme. But.
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It's it's very much from when he's telling Luke about his
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father and showing him the lightsaber.
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And there's that little cheeky, like, kind of.
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Like I'm I'm thinking. Of and there's like, there's
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like a chime in there. So it's very magical and there's
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emotional oboe. And there are my sisters, and I
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always say the sad oboe. Sad oboe, No.
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The oboe carries so much weight. It does.
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It's an important instrument, though often overlooked.
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Mm hmm. Yeah.
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So I I've always loved that piece because it is, it sounds
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like someone telling a story and it has that magic to it and it
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goes through all these changes. It's actually kind of like a
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dynamic piece. And it's I just love it because
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it's that moment where Luke and Obi Wan are connecting for the
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first time and really kind of establishing that Luke has a
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bigger destiny than he might have thought.
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He's not just a moisture farmer anymore.
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It's the culmination of so many years, Especially if you listen
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to it and look at that scene after seeing the Kenobi series
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and the Clone Wars series and all this stuff, it's just like
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it's really finally being put into play, you know?
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So that's that's pretty magical. I would love to see if Williams
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pulled anything for the new Obi Wan theme that he wrote.
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If he, like, pulled any of those musical themes from either the
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prequels or the original trilogy for this, for the new piece.
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Because I bet, like I said, I'm so bad at analyzing music I I
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really don't know. But if anyone out there is good
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at that, maybe they can compare. So what is your first one?
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My first one is is Leia's theme and I know you love it too.
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Yes. But Leia's theme will always
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cause me to cry, no matter when it's played, how long it's
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played me. Too.
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And it's played in so many parts and you recognize it, but it's
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such a subtle it's not this grand heroic theme song that
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Luke gets, you know, or even Han in the Millennium Falcon and or
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Darth Vader and the Imperial March, which I fucking love.
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But I read, I went through and read the breakdown of how John
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Williams came to make this song, and I think it's really
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interesting. So the first time we hear the
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song is when she's captured by Darth Vader and it's scored for
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French horns accompanied by strings.
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And it says here the horn is an interesting choice, since it's
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often associated with hunting calls and big heroic passages in
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late romantic symphonies. Here however, the solo horns far
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away sound floating over a shimmering violins suggest
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solitude and self doubt in the face of overwhelming odds.
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So if you think about that and then you go listen to it,
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especially in that first part. So the song on the soundtrack
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starts off very gentle, kind of builds, and then it's full by
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the end, which a lot of these John Williams songs are, right?
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Yeah, yeah. But it says here John Williams
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set Leia's theme in D minor, a key associated with
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overachievers and negotiators. Really.
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Like how? First of all, I don't know
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anything about that, but I think that's awesome.
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That is. Awesome.
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But I guess if you speak in the language of music the way that
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John Williams does, who's created so many iconic theme
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songs for movies, he probably has it in his head like, well,
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this goes with this character and this goes with this thing
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and, you know, you just become a master at your craft.
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But at the time, Leah's 18, She's the youngest senator ever
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in the Galactic Empire. But as he developed her theme,
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he consistently visits the flat side of the key, whose
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instability underlines the other important facet of Leia's
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character. She's the film's romantic lead.
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So behind her tough exterior, there's still a human there who,
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you know, has desires, emotions other than, you know, what the
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job requires. So he tried to wrap all of that
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together, and I think he did it splendidly because it's It's
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soft and then it's strong and then it's I just it's just like
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Leia. I just love it.
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And there's always this kind of slight undertone of either
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sadness, vulnerability, vulnerability.
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There, that is Leia. I mean, she perseveres in spite
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of her heartbreak, you know? I mean, her whole planet was
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destroyed. I just.
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I'm so like you. Every time I hear this theme I
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cry. Especially when it appeared in
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the Kenobi series that I was not expecting it and.
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He neither. Did me.
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I was destroyed. In fact, Leia's theme shows up
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so often it's only in Empire Strikes Back twice.
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So it's when Han Solo tells her he has to settle his debt with
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Jabba and he has to leave. And it's kind of wrapped into
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Han Solo and the Princess, which is a different score altogether.
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And then at the very end, when she like reaches out to Luke and
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they have that moment and he rest, should they rescue him?
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Yes. I love that so much 'cause
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that's the point where they zoom in on her face.
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Their force bond is is there. I I just.
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I fucking love it. But then it's in Return of the
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Jedi. Of course it's in Revenge of the
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Sith when Bill is talking to Obi Wan and says he'll adopt the
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girl. Oh, it is, yes.
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And then when they're like holding her on Alderaan, it
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plays again. And then it's in the Clone Wars,
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the Episode Assassin, when Padme and Ahsoka go to Alderaan, which
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remember that we get. We finally got to see Alderaan
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in the series. Yes, yes.
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And like Ahsoka standing on the balcony and Padme comes out to
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like talk to her or something. And.
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How interesting. I didn't remember that was play
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like Leia's theme because Clone Wars are always so careful to
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not over reference. These are just they're snippets.
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It's not. You either catch it or you
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don't. You know, it's like one of those
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things. Yeah, yeah.
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It's in The Force Awakens. Obviously when we first see Leia
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again, the 1st 4 notes of the theme play in Rogue One when
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Bale and Monmoutha are talking in Bale speaks indirectly about
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Leia, which is so tough. Yes.
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Oh my God, yes. It plays in The Last Jedi, and
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then, of course, when she passes away and it's her funeral on The
15:13
rise of Skywalker, it's. I couldn't.
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I couldn't handle that scene. I was in a place in my life
15:19
where that was. The last thing I needed was for
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them to then kill off Leia. And just when R2 was there, that
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was like, I'm getting chills talking about it.
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I fucking love this theme because it follows her, it
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follows her story. And actually, to wrap this up,
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the song accompanied Carrie Fisher's walk out onto the stage
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when they did the George Lucas roast in 2009.
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So they had it playing when she came out on stage, which I think
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is insanely appropriate so. That roast is so funny.
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Oh my God, it's crazy. It's so good, that one.
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It never fails. It never fails.
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That was, of course, on my favorites list.
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But Oh yeah, we have so many that we love.
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I was like you. Take that one, I'll find
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another. One, yes, yes, yes.
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I mean, it's like I wanted to spend some time talking about it
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because I think everyone knows it.
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Everyone has at least got watery eyes listening to it.
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Yes. So it's it's obviously, I mean
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John Williams, man. He knows what he's doing.
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So the key is in D major with gentle flow and straight 8th
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feeling. I don't know what any of that
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means. But I love to talk.
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I love. I love how it sounds.
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I'll have to ask my parents please to explain 'cause I don't
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understand. It's just great.
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I love that you found that information 'cause I I didn't
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even think to look up if there was notes.
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For what it's worth, I got these notes from a musical composer
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who has a website that analyzes classic movie scores so he knows
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what he's doing. He he had pieces of the music
16:57
with the bars and the notes and explained.
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I mean, it was really in depth, so I just pulled, you know,
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stuff that's easily digestible to us peons.
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Right. That's in our language for the
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simple people here. So what is your next one?
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So my next one I'm straying from John Williams.
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OK. There's really, it's One Piece.
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They're really two pieces, but they're kind of back-to-back in
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the film in Rogue One, and that score is by Michael Giacchino
17:27
and holy shit is it good. Which one is it?
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OK, so the piece is your father would be proud of you.
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Oh and that follows into the Jen Erso and Hope suite which is
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runs through the credits. It's it's basically, yeah, I
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know I I cannot listen to these pieces without crying and I
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cannot watch these scenes in the movie without crying.
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And I think that it's because of the music and the editing and it
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basically starts though your father would be proud of you,
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starts on the Citadel tower and as Jen and Cassie and are
18:04
getting back in the elevator and go down to the beach and plays
18:07
all the way up to when Vader appears on the ship.
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So it's encompasses like Jenny, Cassian dying and all of the
18:17
Rebellion ships basically getting destroyed and blown up
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and then it becomes quiet right as they die and then.
18:26
Yeah. They pull away and show the
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whole planet, and it's quiet and gentle and it's just separate,
18:33
So painful and so beautiful. It encompasses all the
18:38
characters sacrifices. I'm getting goosebumps.
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I have goosebumps. I think that's most powerful
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when they pull away from the planet and you see the absolute
18:48
destruction from above and there's nothing anyone can do.
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You literally just have to sit there like what's his name in
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the ship? May the Force be with you.
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Yes, yes. Oh my God, that.
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I'm literally getting. I know thinking about Goosebumps
19:01
because he's a monk. Calamari.
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Why can't I remember his name? Raddis, Admiral Radis, something
19:08
like that, I think. And he realizes that there's
19:11
nothing they can do anymore for anyone on the surface.
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And he says, may the force be with you.
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And it's just like, you know they're going to die and there's
19:19
no saving them. It's so sad.
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But I love this music because it's a departure from John
19:29
Williams, but still, like, honors John Williams and his
19:32
kind of spore writing. It's powerful, that whole scene.
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I mean, it's befitting to the end of two incredibly powerful
19:43
people doing an incredibly heroic action, and the title of
19:49
it alone. I know.
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Sums up like Jin's ultimate life thing.
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You know, actually it could also mean.
20:00
I know it's for Jen, but now that we have seen Andor, Andor's
20:04
father would have been proud of him too.
20:06
Oh my God, my heart. There are pieces from Andor with
20:10
titles that mirror what's in Rogue One, and the whole idea
20:14
that your father would be proud of you is also the last thing
20:17
Cassian says to Jen. And like, make sure that she
20:21
knows that because he never received it.
20:24
Like I, you know, it's well, I guess maybe he did receive it.
20:32
He gives that to Jen the way Brasso gave that to him.
20:34
You know, it's just like, Oh my God.
20:38
It's so good music, man, I'm telling you.
20:42
I know. It conveys what words can't.
20:45
It's true. It really is true.
20:47
I really love Michael Giacchino. He has written some really cool
20:51
scores. He actually started by doing the
20:54
Medal of Honor video game music, which I freaking love.
20:58
I used to play Medal of Honor all the time on my computer and
21:02
I've always loved the music from it.
21:05
And I heard him interviewed on WAIT WAIT Don't Tell ME and he
21:08
was talking about Rogue One, but how he started in video games
21:12
doing Medal of Honor and he was like ready when they came to him
21:15
for Rogue One, He was like, this is my thing, like, I can do it.
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I know I can do it because I've got this background where I have
21:21
to kind of take my music and apply it to a theme that is not
21:25
necessarily my language. And he was like, I can do it.
21:28
I can do the John Williams thing.
21:29
I can do the Star Wars thing that.
21:31
Is that is really cool? And by then, he'd already won an
21:35
Oscar for Up, which, if you've ever seen, will instantly make
21:38
you cry. That mood, it's so good and it's
21:44
the one I've only watched once. Because I cannot, I can't.
21:48
The 1st 10 minutes I was a mess and I was like, I don't think I
21:51
could ever watch this again. No, that was oh, it's yeah.
21:57
It's so good. Oh man.
21:59
Yeah. So that and then the Hope suite,
22:02
which is just, it takes a lot of the themes from your father
22:05
would be proud, but it also has this soft, beautiful violin at
22:10
the beginning. It's just absolutely stunning
22:14
music and yeah. And he also did that one.
22:19
Oh, perfect. Kudos to him.
22:20
Those are good. Those are big boots to fill with
22:23
John Williams, to take something that is new but adjacent, you
22:28
know, to the thing that existed, which is what the whole movie
22:30
is. I feel like that movie just
22:31
accomplished. I know it had a lot of trouble
22:34
and bumps along the way, but it is a masterful piece of work,
22:38
honestly. Yes, 100%.
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So what is your next one? My next one is Ray's theme.
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Oh, I love Ray's theme. I just love it.
22:49
I think it's every time I hear it, I feel a little bit of joy.
22:54
And there's such hope in her song, especially as you're
22:58
getting to know we're in a force in The Force Awakens.
23:02
And then I read the breakdown. In fact, John Williams has a
23:05
quote himself when describing what he went into when making
23:10
this song. He says, quote Ray.
23:13
Her theme has a musical grammar that is not heroic and a sense
23:17
of a hero's theme. It's kind of an adventure theme
23:20
that maybe promises more than resolving itself in the more
23:23
major, triumphant resolutions. When we first meet her, she's
23:28
been alone, she's been without her parents.
23:30
I felt a lot of empathy for that girl, and I think Rey's theme
23:33
needs to illustrate that. Yes, empathy and playfulness.
23:39
Playfulness, because it starts out with that and it's and it's,
23:45
let me see here. It starts off with a bit of
23:47
whimsy, a soft, chiming melody that soon grows into a flowing
23:51
theme with strings and woodwinds.
23:52
And the melody tells us several things.
23:54
That Rey is young and idealistic, much like Luke, but
23:58
also she has her own inner strength even before she starts
24:00
to use the Force. The former is heard in the
24:04
opening part of the theme, and the inner strength of his is
24:06
revealed when the strings come in, pushing the theme to new
24:09
heights. And honestly, I completely agree
24:12
because it starts off kind of innocent and whimsical.
24:15
And I mean, whimsy is the word. Yes, I'm like nodding so hard
24:20
and. It's first heard when she comes
24:25
out of the Star Destroyer, but then that's in A Force Awakens.
24:29
But then you hear it like when she's sliding down the sand to
24:32
go into this old home and and like she's still kind of like a
24:37
kid. It's it's got that youthful
24:39
playfulness that, like Luke had when he first began his journey.
24:44
Yeah. And Rey also has that, but then
24:47
it builds and there's like a promise of something because
24:49
it's so strong in the end. And and Star Wars is known for
24:51
the horns, right? Horns, strong horns.
24:54
And so she's got that strong horn sound at the end of this,
24:59
and it makes me like, yeah, go Rey, yeah, you know, from child
25:04
to prodigy. Exactly.
25:07
She's going out a big arc. And this is just the beginning.
25:10
I God, it's so smart. I love that the music is a
25:14
reflection of the characters. Full like Journey.
25:18
Yeah, it's so cool. 100% and I I fell in love with Rey's theme.
25:23
It doesn't move me the way that Leia's theme does because I'm so
25:26
absolutely in love and vested in Leia's character since I was a
25:30
small kid. But I love Rey's because it
25:33
takes me kind of like on this journey and it's so playful.
25:38
But then it's like so strong and I want to be that.
25:41
I want to be playful and strong. I want to go on an adventure.
25:47
I remember it sticking out to me immediately because it's again,
25:51
not like any of the other characters themes.
25:54
It really isn't. It isn't.
25:55
The beginning of it is so unique.
25:57
I don't know anyone else's theme that starts with like that
26:01
little chimey. I would.
26:03
I wouldn't even argue it's closer to Harry Potter.
26:06
A little bit and I can see that. Because he did that music too,
26:12
at least up until the 5th movie, and it has that like Chime magic
26:17
whimsy. Yeah.
26:19
Yeah, it implies to me that Rey is a little more of like hidden
26:25
magic. She has more magic and strength
26:29
in her than even she realizes. I love her song.
26:33
I love how they did it. I love the different variations
26:36
it goes through all the way up until the end and I really do
26:40
like Rey as the character, so that was my second one.
26:44
Do you have any honorable mentions?
26:46
Well, Speaking of Rise of Skywalker, I I really, really
26:50
love the main theme of Star Wars.
26:53
You know the what? What is the actual name of it?
26:55
Because I know it's the Force theme or?
26:58
I think it's just. You know the one.
27:04
That one. God damn it, yeah, I I associate
27:09
it with Luke's theme and in fact, Mark Hamill said, hey, so
27:12
like when do I get a theme song? And they looked at him and said,
27:16
Luke, the main theme is your theme song and he's like, yeah.
27:20
And that's why I got like a little bit cranky when they
27:22
started using it for other people.
27:24
I was like that's that's for that character.
27:27
Like it was said in the 70s. It's just called main title.
27:30
It's Star Wars the Main. Title.
27:32
So if you take the main title and you think to the end of The
27:35
Rise of Skywalker when Rey is, she has the two Sabres, the Luke
27:40
and Leia Sabres connected in an X and she's forcing the the
27:44
lightning back on Palpatine. That theme is played in a
27:48
different key. It's like higher and it makes it
27:52
so much more dramatic and it's like the culmination.
27:56
I I mean, they went all out on that.
27:58
And I I guess I just love that moment and that's all, because
28:02
it's it's just so like, shit, I was a mess when I was watching
28:06
that, but. It's so powerful.
28:08
It really is. But I love.
28:10
I love the Imperial March for for no reason, because other
28:13
than it's fucking awesome. It is awesome.
28:17
I mean, shit, if I could wear a Cape and it was socially
28:22
acceptable to do so, I would walk around and just play it and
28:25
wear it with my Cape. I love that so much.
28:32
How about you? What's your honorable mentions?
28:36
Mine is from Andor because I love the Andor soundtrack and I
28:41
think Nicholas Britell is a fucking genius.
28:44
He did a great job. It is so good and so odd and I
28:50
love that about it. It's like this weird mix of like
28:52
kind of Blade Runner music and but the one that really, really
28:58
affects me is Your Mother is Dead and that scene in
29:03
particular as well. And it's totally different than
29:07
all the other pieces. It's only strings for the most
29:10
part. I think it's very emotional and
29:13
it is absolutely beautiful and instantly gut wrenching at the
29:19
same time. Oh yeah.
29:21
Well, that scene is hard enough. And then you add them that kind
29:24
of perfect music on top. I know.
29:27
And the the way the scene is played, it's so internal like
29:33
and or finds out and his face just kind of goes blank.
29:37
And then he goes back and talks to Melchi and then Melchi is
29:41
kind of like talking to him and Cassian's giving him one word
29:44
answers and Melchi leaves and Cassian just stands there
29:46
staring at the ocean realizing like he is alone now and it's so
29:52
it's that parallel of then at the end of Rogue One where he's
29:54
on the beach with Jin and it's just like it's so good.
29:59
And I love the way Diego Luna plays the scene because it's
30:03
like so restrained. But you can tell he's very
30:06
deeply affected. And I heard him interviewed and
30:09
he was saying that they played the song on set and he had to
30:13
ask them to stop eventually because he was like, I can't
30:16
keep, like, it's too emotional. Like it's making too much
30:20
because his own mother passed away.
30:22
And he even said, like, mom, I'll talk to you later.
30:25
Like, you have to turn this music off.
30:27
Like, I can't keep bringing this real feeling.
30:29
It's like too devastating. Wow.
30:32
Yeah, so as I just think it's a very powerful piece and I have
30:36
used it to write a few scenes. But again, like you cry while
30:40
you listen to it, like you have to be careful.
30:44
If you listen to it too much, you'll just sit there sobbing
30:46
all day long. But I think it's, I don't know,
30:49
another example of how powerful music can be.
30:53
Totally. It's very, very subtle, just
30:56
like the scene is, but like very deep emotion going on with the
31:00
whole whole thing. So I don't know.
31:03
I loved it. I have to go back and listen to
31:06
that one. I'll probably cry.
31:08
My most listened to song for all of 2023, apparently.
31:12
What? Really.
31:14
Yeah, my Spotify. Like, you know, whatever.
31:16
They call it Yeah, yeah, the rapt.
31:18
Yes, thank you. Yeah, Spotify wrapped.
31:20
It was because I wrote to it like there was a a couple of
31:25
days where I wrote to it, but I have it turned like way, way
31:27
down, just almost kind of like meditative.
31:31
So it's just on a loop and I don't actually listen to it.
31:35
It's just like so my mind doesn't wander off.
31:37
And I think that was part of it. But also like it was exactly the
31:42
emotion I was looking for for what I was trying to write.
31:44
So it's so fucking good and I just love Nicholas Bricel.
31:48
Like, I've started to listen to some of his other scores.
31:51
He is capable of so many styles, it's amazing.
31:56
And he said the first thing he wrote for Andor was the thing
31:59
that the tower clock guy plays. Oh, no hammers.
32:05
Yeah, I love that guy. Yeah, he said.
32:08
That was one of the first things.
32:10
He takes his job very seriously. I love him.
32:15
He's the secret hero in Andor. Yeah, and then he, like, knocks
32:19
the guy off. He like just Bam out of the way.
32:23
And you see, the long shot of this just flies out of this.
32:26
That's it. Oh, so good.
32:31
Who said Andor's all depressing? Not us.
32:34
That part's funny, and there's like one other part that's kind
32:37
of funny. You know who I was randomly
32:39
thinking about from Andor the other day?
32:41
Don't ask me why. I just was that giant alien.
32:45
You know, the guy that wanted him, wanted Cassie in to pay him
32:47
back and he brought like his. That's the other.
32:50
Guy I was thinking of. Yeah, yeah, That guy, the the
32:55
one that just stood there and looked and and he's like, you're
32:57
supposed to be doing more. He's like, what?
33:01
I'm just stand here. Yeah, exactly.
33:03
I love him. I was thinking about him the
33:06
other day. I love the Cassie's like you
33:09
need money bad enough that you're going to do this.
33:11
Like what the Hell's wrong with? You I I just.
33:14
I really, I want more of that character.
33:16
I hope he made it out of of that place OK.
33:21
I know that is the only other funny part I was thinking of
33:24
actually. Well, there you go.
33:27
I liked him. Anywho, man, we could go on and
33:30
on about these songs for days. Yeah, we didn't even cover any
33:35
of the Clone Wars shit. Ahsoka leaving that whole sport
33:39
could just be its own episode. My God, and even the Ahsoka
33:43
theme from the new show is so it's.
33:46
Very beautiful. Yep, they nailed it.
33:50
They nailed the soundtrack for that show.
33:52
Yeah. I had emotional reactions to the
33:55
music in some scenes, more so than I did the characters.
33:58
Yes, me too. I know.
34:03
Yeah, the reason I felt something during that show was
34:06
the music, not the performances sometimes.
34:09
But Kevin Kiner's awesome. We saw him at Celebration, not
34:13
Celebration Comic Con the first year you and I went.
34:17
Yeah, that was fun. I.
34:19
Like that, Filoni gives him spotlight.
34:22
Absolutely he should. He carried seven seasons and
34:26
then some. Like I know.
34:27
And like season seven, like the Mandalore arc.
34:30
And the music from that was insane.
34:32
It's so good, it's it's honestly, it's an ode to the
34:37
original scores, but it's also his own.
34:42
It's very * warsy. The arcs would have different
34:45
moods. Sometimes they would.
34:47
Yeah. There is one that is fucking
34:49
bizarre. Which one?
34:53
It's the one where in season one where R2 is lost and Anakin's
34:57
trying to find them and they have that other R unit that's
34:59
like a spy. Yeah, the music is like, I don't
35:03
even know, It's like something you'd hear in a European club.
35:07
Interesting. I would have to go back and
35:10
listen. Yeah, it's more like a thriller.
35:13
It it was very bizarre. It really stood out to me as
35:16
like. That's weird electronic music
35:19
for an electronic Droid, right? Yes, exactly.
35:23
Yeah, I know. We could do a whole episode on
35:25
each each of these composers, honestly.
35:27
Well, we're going to come back to this topic because there's
35:30
just too much good music to talk about.
35:32
Yeah, these these just have to be our favorites off the top of
35:35
our head. Our question to you for this
35:42
week is, what is your favorite score from Star Wars?
35:47
Any any faction of Star Wars, let us know and tell us why,
35:53
because we're curious. We may cover it in our next
35:56
installment of this type of episode.
35:59
And join us back here. Next week we are going to dive
36:01
into another Clone Wars or we are going to talk about some
36:06
Ventress. Starting next week, we're going
36:08
to do an arc that features Ventress and the Night Sisters,
36:11
starting with the episode called Night Sisters.
36:14
So that will be kind of different and I think fun to
36:17
kind of venture into a different character in one of these arcs.
36:21
So join us back here for that. And thank you so much for
36:25
joining us here on the Most Things Kenobi Podcast.
36:28
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36:31
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36:36
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36:55
So until next time, my space twin, may the Force be with you.
37:00
Always.